Anyone who has seen Theatre Group’s recent explicit productions of “Sordid Lives” and “Naked Boys Singing” will be surprised, perhaps even blindsided, to learn that “Southern Baptist Sissies” is not only a real play, it’s a wrenchingly thoughtful play. Unexpectedly substantive and improbably poignant, in fact.

Which is not to say it isn’t blasphemous, outrageous and crude – trademarks of Del Shores’ series of five Texas comedies. And it’s shockingly funny. But Matthew Shepard’s 1998 murder moved Shores to plumb emotional depths with this thought-provoking play.

Now being made into a 2007 film, “Sissies” is a gay kid’s “Stand by Me.” It’s a bittersweet memory play covering 21 years in the lives of boys growing up and coming out in a Dallas congregation that’s frighteningly intolerant – and therefore highly lampoonable.

Director Steven Tangedal’s unnervingly well-played production delivers fresh faces and brave performances. The story opens during a sermon with a fire-and-brimstone preacher (Todd Peckham) welcoming one and all. “Unless you happen to be a sodomite,” interjects our narrator. He’s looking back at when he was one of four choirboys whose encroaching amalgam of pubescent wonder and confusion is about to be exacerbated by echoing promises of eternal damnation.

“This,” we are told, “is where we learned to hate ourselves.”

This likable narrator, Mark (James O’Hagan-Murphy), is just a boy trying to figure things out. His first sexual fling is with buddy T.J. (Lance Beilstein), who grows so frightened of turning out gay he becomes a miserable poster child for heterosexuality. Flamboyant Benny (Preston Lee Britton) is destined for stardom as a Dolly Parton impersonator. And Andrew (Adam Lee Brodner) is a tormented kid who pleads for God to simply make him right. Robin Madel plays each of the distinct but sympathetic moms.

On the fringes of the set and the story is a lovable old bar troll named Peanut (David Ballew), who befriends Odette Annette (Amanda Earls), a boozy little sweetheart who says, “If my bed could talk, well then, it would never shut up!” These two clever lounge lizards provide gut-busting comic relief, until we finally learn what Odette is really searching for here in this smoky strip club in Dallas’ underbelly.

Theatre Group’s staging, while missing the element of live music, is alternately confrontational and extraordinarily humane. A sex scene played against a crucifix will seem abominably profane to some, but it’s an essential, iconic confrontation if we are to understand these boys’ collision of self-hatred, desire and faith.

And Shores tackles “The Bible Problem” head-on. Yes, Leviticus declares homosexuality an abomination. But as the narrator points out, the Bible also decrees eating shrimp a mortal sin, and that disobedient children should be stoned.

Puberty is scary enough without having it compounded by promises of damnation from a congregation whose members, we are told, “would rather have cancer than be Jewish.” How not to be moved when the church that shaped and nestled these God-fearing boys in its bosom now finds them to be an abomination? Organized religion, at its most noble a provider of a moral spine for young people, for these boys becomes a barrier between themselves and the God who created them.

So when Andrew, fighting valiantly to be not who he is but what his church demands him to be, offers his simple prayer – “Help me!” – who would dare condemn him when his prayers have gone so long unanswered?

“Southern Baptist Sissies” is the kind of play that will offend some into a rabid tizzy. So be it. It’s also the kind of play that might save someone’s life.